A Quote by Tom DeLonge
When we started Angels Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.
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When we started Angels & Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid. I think you see that nowadays, in this postmodern context, there's much more use of different mediums in contemporary art. For me, if you're a creative person, you can choose to make a painting, you can choose to make a film.
I didn't make a film because I wanted a starring role. I made a film because I wanted to tell a story and I wanted to prove that I could direct.
I was thinking I would love to make something that is a successful film that everybody sees, but I wasn't thinking about the actual dollar amount. I just wanted to make a great film that people responded to. That's always a good ambition because you'll never totally hit it.
I was not the producer of 'Vaanaprastham' earlier. The first producers backed out when they became doubtful about the monetary benefits. I do not blame them. But as an actor, I wanted to make the film. So, I told Shaji sir that I would produce the film. It was only then we started shooting.
I've always wanted to do a feature film, because, as a model, you have to play so many different characters.
'Dil Chahta Hai' was too raw. We only thought about the film. We never thought where the film was going to go. We wanted to make a film on our own terms.
I thought I should try something relatively inexpensive, relatively contained, relatively small. I started working on a feature, a film I'd still like to make: a very talky film of people and ideas about our contemporary state with regard to relationships, marriage, sex, and romance. I started trying to educate myself about filmmaking.
In the case of 'The Deep,' because of the people involved, the talent and the real lives of people who died, I wanted to make the most honest film I could. And sometimes that's the best way to go: Just make the best version of the film you can.
I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
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